









‘i 








3 MCMXXIV 
| 














Photograph by J, William Rodgers 


‘THE WEST FRONT 

















GUIDE BOOK 


ro 


TRINITY CHURCH 


in the City of Boston 


Meee LUC US TRATIONS 


By 
MYRTLE SHELDON GRAFF 


LA WR Vv a\rdse , At cu yea 





COUNCIL OF THE CHURCH SERVICE LEAGUE 
MCMXXIV 











REV. ARTHUR LEE KINSOLVING 





RECTORS 
The Rey. Addington Davenport 
The Rey. William Hooper 
The Rev. Wiliam Walter 
The Rt. Rev. Samuel Parker 
The Rev. John S. Gardiner 
The Rt. Rev. George W. Doane 
The Rt. Rev. Jonathan Wainwright 
The Rt. Rev. Manton Eastburn 
The Rt. Rev. Phillips Brooks 
The Rev. E. Winchester Donald 
The Rt. Rev. Alexander Mann 
The Rev. Henry Knox Sherrill 
The Rey. Arthur Lee Kinsolving 


1734-1746 
1747-1767 
1767-1776 
1776-1804 
1805-1830 
1830-1831 
1833-1838 
1840-1868 
1869-1891 
1892-1904 
1905-1923 
1923-1930 
1930- 





D.D. 


OX SHERRILL, 


KN 


REV. HENRY 


RT. 


Crinitp Church in the City of Boston 


INTRODUCTION 





RINITY CHURCH is approaching its 
two hundredth Anniversary. It was 
founded April 15, 1734, the third Epis- 
copal Church in Boston, King’s Chapel 
having been founded in 1689, and Christ 

Church, (the Old North Church), in 1723. 


During these two centuries of Parish life it has 














had three church buildings,—two on the same site on 
Summer Street, corner of Bishop’s Alley, and the 
present one in Copley Square. 

The first church building was an unpretentious 
structure without distinction of architectural style. 
All about it were fine residences, set in the midst of 
beautiful gardens. Here Trinity worshipped for 
nearly a century, when in 1829 the old building was 
replaced by a larger and more dignified Gothic edifice. 
The memory of this building is held sacred because 
associated with the early years of Phillips Brooks’ 
ministry in Boston, as it was to this building he came 
as Rector in 1869. 

From the year he came he urged removal to another 
and more convenient section of the city, as Summer 
Street had become a crowded business district. So 


[ea] 





KS 


PHILLIPS BROO 


INTRODUCTION 


successful were his efforts in convincing the Vestry 
and the parishioners of this necessity that negotia- 
tions for the sale of the Summer Street property were 
accomplished, and the present site in Copley Square 
bought January, 1872. A Building Committee was 
created and later an Executive Committee. Henry 
Hobson Richardson was chosen architect for the new 
church and plans were under consideration when the 
old church was destroyed in the great Boston Fire 
of November 10, 1872. 

During the two years while the Chapel was building 
services were held in Huntington Hall, of the Institute 
of Technology. It was Phillips Brooks’ great power 
and personal magnetism that bound together people 
and pastor at this time in closer union. 

At the Consecration of Trinity, Phillips Brooks 
paid high tribute to his people for their enthusiastic 
support, their patience, their unbounded generosity, 
during the years of building. To his Executive Com- 
mittee of three he said, “The coming generations will 
owe their dear and beautiful church to you.” But 
he was the inspiration back of them all. He was as 
inseparably associated with the fabric by his devo- 
tion to its building, as by his unique ministry of 
preaching. Trinity is a monument to him. ' 


[9] 


THE BUILDING OF THE CHURCH 





=a RINITY CHURCH occupies a great 


triangle, with its west facade opening 


H on Copley Square. It is bounded by 
I Lal Trinity Place, St. James Avenue, Clar- 
On 


endon Street, Huntington Avenue. 

the northeast corner is the Parish House, connected 
with the church by beautiful Romanesque cloisters, 
a reminder of those of St. Trophime at Arles. It 














was a great engineering feat to prepare for the 
foundations, as the church was to be built on made 
land. Ground was broken in April, 1873, and the 
first pile driven the same month. Forty-five hundred 
piles were driven and filled with concrete to a depth 
of two feet, as a preparation for the masonry of the 
foundations. The foundations under the piers, which 
support the Tower, weighing nineteen million pounds, 
consist of four great pyramids, one for each pier, 
built of solid granite, each thirty-five feet square at 
base; seven feet square at top; and seventeen feet 
in height. 

The erection of the Parish House was hastened, and 
its Chapel was ready for services in November, 1874. 
The walls of the church were by that time well under 


[11 ] 


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way. The corner stone was laid by Phillips Brooks 
May 20, 1875. The Church was consecrated Feb- 
TUALVEO LO lita 


THE ARCHITECTURE 


The Architecture of Trinity Church is a free ren- 
dering of the French Romanesque of the eleventh 
century, such as is found in the cities of Auvergne, 
district of Aquitaine, central France. 

The great central Tower, which dominates the pile, 
is an adaptation of the Tower of the Old Cathedral 
of Salamanca, Spain. The walls are built of Dedham 
granite, a soft yellowish-grey; with trimmings and 
decorative details of Longmeadow freestone, a rich 
reddish brown; the whole enriched by the red-tiled 
roof of the Tower. 7 

Although designed by Richardson, the West Porch, 
based upon that of St. Trophime at Arles, was not 
built at the time of the consecration of Trinity. 
Through the efforts of Dr. Donald, it was carried 
to completion in 1897, “The Beautiful Gate of the 
Temple.” 

THE INTERIOR 


Interior. The Church is of the shape of the Greek 
Cross. Its arms are of almost equal width; North 


[12 ] 


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GUIDE BOOK 


to South, from transept to transept, it measures one 
hundred and twenty-one feet; East to West from apse 
wall of the Chancel to West front, one hundred and 
sixty feet. The Tower ceiling. is one hundred and 
three feet from the floor. Phillips Brooks and Richard- 
son modified architectural features in the interior in 
order to give prominence to the Pulpit and the Chan- 
cel Apse, to emphasize Preaching and Communion. 
The nave has narrow side aisles covered by a tri- 
forium arcade of two arches which support the Clere- 
story. Under this is a passage way, connecting with 
the Transept Galleries. These seat about five hun- 
dred and have always been free. The floor seats a 
thousand. The alcove on the Southeast, known as 


the Chancel Alcove, is now used as the Baptistery. 


INTERIOR DECORATIONS 


Interior Decorations. In September, 1876, four 
months before the Consecration of Trinity, John 
La Farge was appointed artist in charge of the In- 
terior Decorations. With such a colossal task, and 
so short a time in which to accomplish it, he engaged 
other artists to assist him, but they worked entirely 
under his direction. His was the master-mind and 


[ 14 ] 


PouINITY CHURCH 


hand that planned and carried out the great color 
scheme. 

The paintings were done directly upon the walls, 
reached by scaffoldings. Owing to the limited time, 
designs on a small scale were worked out at night 
and enlarged full size upon the walls next day. 
La Farge supervised and gave personal attention to 
every detail of a practical nature. It was through 
his persistent and determined experiments that he 
finally secured colors, and a medium for mixing the 
colors, which would insure permanency and security 
against damage by time or water. ‘To him we owe 
it that at the end of forty-seven years the paintings 


are so well preserved. 


The general scheme is one of warm, rich color, soft 





shades of old rose and green prevailing,—a deep-toned 
interior with the feeling of vast spaces and deep 
shadows. The panelled ceilings are covered with 
beautifully wrought gold arabesques of Romanesque 
design. As Richardson emphasized the Tower as the 
great architectural feature of the interior, so La Farge 
lavished upon it a wealth of decorations and paint- 
ings, beautifying even the hidden parts. 

Over the arches of the Tower is a beautiful decora- 
tive painting of angel faces, with drooping win 


[ 15 | 


85> 


Photograph by J. William Rodgers 


NAVE LOOKING WEST 





TRINITY CHURCH 


in delicate shell tints,—blues and violets and rose, as 
if seen through a misty cloud. 

The heroic figures represent :— 
East wall of Tower: left, St. Peter; right, St. Paul. 
North wall of Tower: left, David; right, Moses. 
South wall of Tower: left, Isaiah; right, Jeremiah. 

The other paintings higher up in the Tower can 
best be seen from the transept galleries, with the aid 
of field glasses, which may be procured from the 
Verger. 

There are twelve exquisite little paintings by 
La Farge in the lunettes over the windows of the 


"Tower :— 


Over East windows: 
left, Journey into Egypt, 
centre, Mother and Child, 
_right, The Resurrection. 
Over North windows: 
left, The Garden of Eden, 
centre, The Peaceable Kingdom, 
right, Abraham and Isaac. 
Over South windows: 
left, Samson and the Lion, 
centre, The Good Shepherd, 
right, Jonah and the Whale. 


[17 ] 


GUIDE BOOK 


Over West windows: 
left, Morning, an Allegory, 
centre, Jewelled Cross, 


right, Evening, an Allegory. 


On either side of each group of windows the wall 
surfaces are decorated with crosses and symbols of 


the Evangelists. 


East wall: Ornamental Crosses. 

South wall: 
left, the Angel, symbol of St. Matthew, 
right, Eagle, symbol of St. John. 

North wall: 
left, Ox, symbol of St. Luke, 
right, Lion, symbol of St. Mark. 

West wall: left, Illuminated Text: “I will give them 
an heart to know me, that I am the Lord, and 
they shall be my people, and I will be their 
God.” 

West wall: right, Illuminated Text: “Go ye there- 
fore and teach all nations, baptizing them in 
the name of the Father, and the Son, and the 
Holy Ghost.” 


Below, upon a gold border running around the 
Tower, is an illuminated text: “‘Blessing and Honour 


[18 | 





y J. William Rodgers 





Photograph b 


APSE OR EASTERN END 


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and Glory and Power be unto Him that sitteth upon 
the Throne and unto the Lamb forever.” 
The Nave is adorned by two wall paintings by 


La Farge, between the Clerestory windows :— 


North wall: Christ and Woman of Samaria at the 
Well, 


South wall: Christ and Nicodemus. 


This painting has richness of color, dignity of com- 
position, and depth of religious feeling,—combined 
with a fine sense for decoration. The Christ reminds 
one of the majestic simplicity of Massaccio. It is 
one of the great modern conceptions of the Christ. 

On the East wall of the North Transept is a paint- 
ing of the Apostle St. James. 


WINDOWS 


Chancel. Seven windows in the Apse of the Chancel. 
By Clayton and Bell, London, England. English 
stained glass. In memory of former rectors of 
Trinity, except the second and the sixth, memorials 
to Bishops. 

Beginning at the extreme left on the North wall, 
this series represents Seven Events in Our Lord’s 
Life: 


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TRINITY CHURCH 
The Nativity. 
. Jesus in the Temple with the Doctors. 
. The Baptism. 7 
Exhortation at Feast of Tabernacles. 
The Last Supper. 
The Resurrection. 


OTR ww 


Commission to the Apostles. 


The Nativity: “In memory of the Rev. William 
Walter, D.D., Minister of this church, 1763-1776.” 
Given by his Granddaughter, Mrs. Louisa A. W. Adams. 
Representing the Babe lying in the Manger, adored 
by the Virgin Mother, in a robe of rich blue, symbolic 
of purity and divine love. St. Joseph is there, the 
Ox and the Ass. The Star of Bethlehem, and Angels 
with scrolls, appear as decorative features of the 
background. There is richness of color in the reds 
and blues of the glass, with good feeling for design 
in leads and bars. As a series, these seven windows 
are decorative in design, forming a band of rich, 
jewel-like color in the deep shadows of the Apse. 

Jesus in the Temple with the Doctors: “In memory 
of the Rt. Rev. Alexander Viets Griswold, D.D., Bishop 
of this Diocese, 1811-1843.” Given by members of 
Trinity Parish. In the centre stands the Boy-Christ, 
robed in red, symbolic of pure zeal and passionate 


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GUIDE BOOK 


devotion. Around Him are the Doctors of the Law. 
The Virgin Mary, robed in blue, and St. Joseph are 
seen approaching. 

The Baptism: “In memory of the Rt. Rev. Samuel 
Parker, D.D., Minister of this church 1773-1804.” 
Given by members of this Parish and by the descend- 
ants of Dr. Parker. Representing Our Lord standing 
in the waters of the Jordan, a robe of rich red 
wrapped about Him; while John the Baptist anoints 
His Head. An Angel holds Our Lord’s outer robe. 
Two emblems appear,—a banner inscribed: “Ecce 
Agnus Dei’—‘‘Behold the Lamb of God’’; and a Dove, 
symbol of The Holy Spirit. Above and below the 
central composition are four small heads of Apostles, 
distinguished by their symbols. Above: St. Jude with 
Axe; St. Andrew with transverse Cross. Below: 
St. Peter with Key; St. John with Chalice and 
Serpent. 





Exhortation at Feast of Tabernacles: “In memory 
of the Rt. Rev. Manton Eastburn, D.D., Minister of 
this Church 1842-1868.” Given by members of the 
Parish. Representing Christ teaching in the Temple 
on the last day, the great day of the Feast of Taber- 
nacles. Our Lord, surrounded by disciples, stands 
with outstretched: hands, and cries, “If any man thirst 

[22] 


TRINITY CHURCH 


let him come unto Me and drink”; this is inscribed 
upon the scroll borne by the Angels. Above: St. 
Thomas with builder’s rule; St. Bartholomew with 
knife. Below: St. Philip with Latin Cross, St. James, 
the major, with pilgrim’s staff. 

The Last Supper: “In memory of the Rev. John 
Sylvester Gardiner, D.D., Minister of this church 1792-— 
1830.” Given by Dr. Gardiner’s Grandsons, Mr. 
John Cushing, Mr. Robert Cushing, and Mr. Thomas 
Cushing. Representing Our Lord at The Last Sup- 
per, passing the Bread and Wine to His Disciples. 
“This do in Remembrance of Me.” His beloved dis- 
ciple St. John is upon His right. Above: St. Simon 
with saw; St. Matthew with purse. Below: St. James, 
the less, with club; St. Matthias with lance. 


The Resurrection: “In memory of the Rt. Rev. 
Theodore Dehon, baptized in Trinity 1776, died 
Bishop of South Carolina 1817.” Given by Mr. Sid- 
ney Brooks. Representing the Risen Christ, bearing 
a white banner, with a red cross, symbol of His Vic- 
torious Passion. At His feet, among the flowers, are 
two angels rolling away the stone from the Tomb. 

Commission to the Apostles: “In memory of the 
Rt. Rev. Jonathan Wainwright, D.D., Minister of this 
Church 1833-1838.” Given by members of Trinity 

[ 23 ] 





INDOW IN BAPTISTERY 


W 


-JONES 


BURNE 


TRINITY CHURCH 


Parish. Representing the little group of Apostles 
gathered about our Blessed Lord, robed in violet, 
symbolic of deep human love. They are receiving His 
final commission and His abiding promise;—‘Go ye 
into all the world and preach the gospel to every 
creature.” “Lo I am with you alway, even unto the 
end of the world.” 


BAPTISTERY 


Window in East wall of the Baptistery. Designed 
by Sir Edwin Burne-Jones. Executed by William 
Morris. English stained glass. Given by Mr. Fred- 
eric Dexter, in memory of his father. Inscription: 
“In memory of George Minot Dexter, 1802-1872.” 
Representing David’s Charge to Solomon. King 
David, enthroned, is presenting to the young Prince 
Solomon the plan of his new Temple at Jerusalem, 
charging him with the sacred commission of building 
it. Sitting at their feet are the scribes, making an 
inventory of the gifts of jewels and gold vessels being 
brought by the people (on the left) for the building 
of the Temple. On the right are the King’s Soldiers. 
Upon one of their banners appears a representation 
of the youth David with the head of Goliath, while 
on another he is shown in the act of tearing open the 


[ 25 ] 


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lion’s mouth. Harpers with their harps appear in a 
gallery behind the throne. 

Burne-Jones’ design is a masterly composition of 
line, full of strong decorative feeling. Rich reds and 
gold predominate; the red symbolizing power, cour- 
age, nobility, and the gold symbolizing learning, 
achievement, wisdom. 

The subject of this window is a fitting tribute to 
Mr. Dexter’s memory. He was warden of Trinity 
for fifty years and a member of the building commit- 
tee. He labored enthusiastically towards the building 
of the new Trinity, but lived only long enough to see 
the land purchased and the architect chosen. 


North Transept: West wall over gallery, window 
on left. By John La Farge. American opalescent 
glass, made by John La Farge. Given by the family 
of Mr. George N. Black. Inscription: “In memory 
of George Nixon Black. Born January 15, 1814. 
Died October 2, 1880, and of his daughter, Marianne 
Black, born August 30, 1839, died August 21, 1881.” 


Representing the Holy City, the New Jerusalem. “I, 
John, saw the Holy City, New Jerusalem, coming 
down from God out of heaven, prepared as a bride 
adorned for her husband.” 

[ 26 | 


TRINITY CHURCH 


Below sits St. John, writing upon a parchment 
scroll, while an angel, sweeping downwards with out- 
spread wings, touches him as he sees the vision. Above 
is the vision of the symbolic Bride, with attending 
angels holding her sweeping robes, while beyond is the 
Holy City. This portion is a marvel of fine setting 
of mosaic-like pieces of glass. The window reveals its 
fullest beauty in the Western sunlight, when the Holy 
City, the New Jerusalem, aglow with color, ‘‘seems 
garnished with all manner of precious stones, having 


the Glory of God.” 


North Transept: West wall over gallery, window 
on right. By John La Farge. American opalescent 
glass, made by John La Farge. ‘In memory of Mary 
Love Boott Welch, born 1823, married 1844, died 
189977 

Representing the Resurrection. Mary Magdalene 
stands before the empty tomb, where the Roman 
guard sits, overcome by sleep. Above, the figure of 
Christ drifts by as in a vision, unseen by the lonely 
watcher at the Tomb. Although this interpretation 
of The Resurrection is unusual, it is not without 
precedent in great art. The figure of Mary is full 
of strong decorative feeling, both in the design of 
its leads, and in its color scheme of reds and ‘ambers. 


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The Western sunlight brings out all the rich color 


of the glass. 


North Transept: North wall over gallery. ‘Three- 
lancet window. Designed by Sir Edwin Burne-Jones. 
Executed by William Morris. English stained glass. 
The three Lancets are united in design by a green 
background of a scroll-like vine in which angels ap- 
pear, playing musical instruments. Each lancet con- 
tains a medallion of figures, which are little gems of 
color. The left represents, The Adoration of the 
Shepherds; the centre represents, The Worship of the 
Magi, and the right represents, the Flight into Egypt. 

Left Lancet, given by Mr. Martin Brimmer, in 
memory of his father. Inscription: “In Memory: 
Martin Brimmer: born 1793; died 1847.” 

Centre Lancet, given by Mrs. Gordon Prince, 
daughter of Mr. Thomas Chickering, commemorating 
three generations of the Chickering family: father, 
son and grandson. Inscription: “In Memory Jonas 
Chickering, born 1798, died 1853; Thomas Edward 
Chickering, born 1824, died 1871; In Memory Charles 
Edward Chickering, born 1854 died 1875.” 

Right Lancet, given by Mrs. Nathaniel Thayer, in 
memory of her son. Inscription: “In Memory Stephen 
Van Rensselaer Thayer. Born 1847, died 1871.” 

[ 28 | 





CLOISTER STAIRCASE 


GUIDE BOOK 


North T'ransept: Four windows under the gallery. 
By Burlison and Grill, London. English stained glass. 


Window in West wall. Representing two charac- 
ters, one from the Old Testament, and one from the 
New Testament, embodying patience and courage,— 
Job and St. Stephen. Given by Mr. Stephen G. 
Deblois. Inscription: “In memory of the Deblois ~ 
family, of which many successive generations have 
served this church as Wardens and Vestrymen.” 

Three windows in North wall, left: Representing 
two characters, one from the Old Testament, and one 
from the New Testament, embodying Faith,—Abra- 
ham and Eunice. Given by the children of Charles 
Appleton. Inscription: “In memory of Charles Hook 
Appleton, born 27 July 1833—died 3 Apr. 1874, 
and of Isabella Mason, his wife, born 23 Oct. 1835 
died 6 Sept. 1869.” 


Centre: Two angels with scrolls, representing Hope. 
Inscription: “In memory of Thomas Lindall Winthrop 
who died in 1841 aged 80 years, and Elizabeth Bow- 
doin Temple his wife who died in 1825, aged 55.” 
Given by the Hon. Robert C. Winthrop in memory 
of his father and mother. 

Right: Representing two characters from the New 
Testament illustrating the virtue of charity. On the 


+ [80] 


TRINITY CHURCH 


left, The Good Samaritan; on the right, Dorcas. 
Given by Mr. William Amory in memory of his father 
and mother. Inscription: “In memory of Thomas 
Coffin Amory, who died 1812, aged 45 vears and of 
Hannah Rowe Linzee, his wife, who died 1846, 
aged 70.” fui 


South Transept: South wall over gallery. Three- 
lancet window. By A. Oudinot, Paris. French painted 
glass. Done after the manner of sixteenth century 
work, as indicated by the greater realism in the treat- 
ment of: the subjects; of architectural canopies; of 
aérial perspective; and absence of leading as a feature 
of the design. 


The Left Lancet represents the Angel and the three 
Marys beside the empty Tomb. “Ye seek Jesus which 
was crucified. He is not here; for He is risen as He 
said.” ‘In memory of the Borlands and Lloyds of 
Trinity Parish.” Given by the present generation, 
and common descendants of both families. 


The Centre Lancet represents Our Lord ascending 
into Heaven, and breathing upon His Apostles His 
final promise, “I ascend unto My Father and your 
Father, and to My God and your God.” ‘In memory 
of Sophia Harrison Ritchie, given by her children.” 

[si]. 


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The Right Lancet represents that moment on the 
Day of Pentecost when the Disciples received the Holy 
Spirit. “We do hear them speak in our tongues the 
wonderful works of God.” “In memory of William 
Appleton Burnham 1811-1851.” Given by his 
mother, brother and sisters. 


South Transept: West wall over gallery, window 
on right. By Henry Holiday, London. English 
stained glass. “In memory of Jane Gould Peters, 
1828-1877.” Given by her husband, Edward D. 
Peters. 

Representing Our Lord on the Mount of Trans- 
figuration, communing with Moses and Elias, while 
his three disciples, Peter, James and John, look up 
and behold His glory. ‘This is My Beloved Son, 


hear Him.” 


South Transept: West wall over gallery, window 
on left. By Heaton, Butler and Bayne, England. 
English stained glass. “To the glory of God, and 
in memory of James Sullivan Amory 1809-1884, and 
Robert Amory his son 1842-1910.” Representing 
St. Luke as Evangelist, and as the Beloved Physician. 
He holds an open book, at his feet is a medicine 
chest. He is robed in rich red, symbolic of self- 
sacrifice and passionate devotion. Below, in a small 


[ 32 | 


TRINITY CHURCH 


panel, is the prison scene, where Luke sits reading 
to St. Paul, guarded by the Roman soldier. ‘Only 
Luke is with me.” The symbol of St. Luke, the 
winged ox, is seen in the upper portion of the 
window. 


South Transept: Four windows under gallery. By 
Cottier, of England. English stained glass. 


Left: Representing The Sower and The Reaper. 
“So is the Kingdom of God, as if a man should cast 
seed into the ground.” “Immediately he putteth in 
the sickle because the harvest is come.” ‘In memory 
of Alexander Cochrane 1813-1865.” Given by his 
son, Alexander Cochrane. 


Centre: Representing the Five Wise Virgins. ‘They 
that were ready went in with him to the marriage.” 
Two of the Virgins are filling their lamps, about to 
follow their companions, who are entering the Ban- 
queting Hall. “In memory of Abby Matilda Loring 
1799-1863.” Given by her niece, Abby Rand Loring. 


Right: Representing the Angel troubling the Pool. 
“For an angel went down at a certain season into 
the pool and troubled the water.” ‘In memory of 
Charlotte Troup Winthrop, 1840-1872.” Given by 
her sister, Mrs. Hollis Hunnewell. 


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Window in West wall: Representing the Storm on 
the Lake at that moment “when Christ arose and 
rebuked the wind, and said unto the waves, Peace, be 
still.” ‘In memory of John Fenno, 1779-1820, died 
at sea—buried in Indian Ocean.” Given by Mr. John 
Brooks Fenno, and his children, in memory of his 
father. 

Nave: West wall. A three-lancet window. By John 
La Farge. American opalescent glass, made by John 
La Farge. Given in 1880, by a few parishioners. 

The centre Lancet represents Christ standing at 
the top of a flight of steps. Slender-jewelled columns 
of alabaster, supporting a Byzantine canopy, frame 
his figure, against a celestial blue background. The 
majestic simplicity of Christ’s figure recalls the 
grandeur of a sixth-century mosaic, as He stands, 
book in hand, in the act of blessing. Over a red robe 
He wears a mantle of richest blue, symbolic of divine 
love and loyalty. A jewelled halo encircles the head. 


The composition is remarkable for the strong deco- 
rative design formed by the leading; each smallest 
piece of glass, from palest turquoise to deepest sap- 
phire, has its own lead setting, like so many precious 
stones. It is related that when John La Farge was 
about to make this window, Phillips Brooks said to 

[34] 


= 


VARNA Vanna LLM y iy 


Vere agy 





THE PULPIT 


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him, “La Farge, put something there that will be an 
inspiration to me, as I stand in the pulpit to preach.” 


Nave: North wall, window on left. By Henry 
Holiday, London. English stained glass. 

“In memory of the Reverend Frederick Brooks, 
1842-1874, rector of St. Paul’s Church of Cleveland, 
Ohio, and youngest brother of Phillips Brooks.” Given 
by Mr. Charles J. Morrill. 

The lancet is divided into three panels, represent- 
ing three phases in the life of St. Paul: Youth, Con- 
version, Missionary-Life. Above, Saul as a youth, 
sitting at the feet of his teacher, Gamaliel. Centre: 
Saul, journeying to Damascus, is stricken by the 
vision, and falls from his horse. “I was not dis- 
obedient to the Heavenly Vision.” Below, St. Paul 
stands preaching to the Athenians on Mars Hill. 
“Whom ye therefore ignorantly worship, him declare 


I unto you.” 


Nave: North wall, window on right. By Henry 
Holiday, London, England. English stained glass. 
“In memory of Robert Treat Paine, Signer of the 
Declaration of Independence; born in Boston March 
12, 1731, and died May 11, 1814.” Given by his 
great-grandson, the late Robert Treat Paine, for 
[ 36 ] 


TRINITY CHURCH 


many years a vestryman of this Parish, and a mem- 
ber of the Building Committee. 

Representing Christ’s Love for children. Our Lord 
appears as the central figure (accompanied by Peter, 
James and John), bearing a child in his arms, sur- 
rounded by other children with their mothers. Over- 
head, cherubs fly about. ‘‘Their angels do always 
behold the face of my Father which is in heaven.” 


Nave: South wall, window on left. By. John 
La Farge. American opalescent glass made by John 
La Farge. “Placed as a loving memorial to Julia 
Appleton by her husband, Charles F. McKim, and her 
sister, Alice, 1859-1887.” 

Inscription translated: 

‘Here shines in glass the beautiful countenance of 
the Blessed Virgin, as painted by Titian and most 
resembling the beloved wife whose bright memory is 
blazoned here.” 

The subject was chosen at the request of Mr. 
McKim, because his wife greatly resembled this little 
figure in Titian’s great painting of the Presentation, 
in the Academy at Venice. It represents only a sec- 
tion of the painting,—Mary ascending the Temple 
steps, robed in blue, symbolic of divine love. Below 
is a decorative figure of an angel seated, playing a 


[ 37 ] 


GUIDE BOOK 


musical instrument,—Mr. La Farge’s own design, a 
rich color scheme of green, symbolic of hope. Above 
are two symbols associated with the Virgin Mary: 
the Lily, symbolic of purity, and the Dove, symbolic 
of the Holy Ghost. 


Nave: South wall, window on right. By Clayton 
and Bell, London. English stained glass. 

“In memory of James Madison Beebe.” Given by 
his daughter, Mrs. Frances L. Fiske. 

The central composition represents the Removal of 
the Ark to Jerusalem. The Golden Ark, drawn by 
oxen, advances slowly, accompanied by King David, 
and a band of maids and children, singing a hymn 
of praise upon the harp, with trumpets and cymbals. 

An angel face, with drooping wings, appears above 
and below this central theme. The general color 
scheme is jewel-like, and joyous, with a fine singing 
quality in its reds and yellows. 


[ 38 ] 


TRINITY CHURCH 


THE CHANCEL 


In the summer of 1902, during Dr. Donald’s rector- 
ship, alterations were made in the Chancel and Chancel- 
Alcove. 

They were completed as they now stand, with the 
exception of the Baldachino, which was erected as a 
temporary model in 1914. 

The work was done under the direction of Shepley, 
Rutan and Coolidge, Boston. The Chancel was made 
fireproof by foundations of steel construction, with 
floors of Longmeadow stone, and a beautiful mosaic- 
inlaid floor within the Communion Rail, which was 
designed by Mr. Charles A. Coolidge. 

Choristers’ Stalls were added for a Vested Choir 
of men and boys, as previously the chorus choir of 
men and women had been located in the West Gallery. 


Choristers’ Stalls and Rector’s Seat. Quartered oak 
stained. Designed by Charles A. Coolidge, Boston. 
Executed by A. H. Davenport, Boston. 

The carved decorations on the ends of the Choris- 
ters’ Stalls represent Christian symbols. 

The Palm Branch, symbol of Victory; Three Fish 
Intertwined, symbol of Baptism in the name of the 
Trinity; XP, the Sacred Monogram, abbreviation of 

[39 | 


GUIDE BOOK 


the Greek for “Christ”; Three Circles Interlaced, 
symbol of the Three Persons of the Blessed Trinity; 
Greek Cross, symbol of Christ’s Love Embracing the 
World; the Grape Vine, symbol of Christ, the True 
Vine. 

The Rector’s Seat has a beautifully carved canopy, 
supported by columns. The lions forming the bases 
of these columns are a familiar feature in Romanesque 
decoration,—a symbol of strength, power, watch- 
fulness. 

Given by Mrs. Edward W. Codman, in memory of 
her daughter, Leslie Wainwright Codman. 


Choir Rail: Designed by Charles A. Coolidge. Ex- 
ecuted by John Evans. 

A parapet of stone, carved in a series of twelve 
panels of Byzantine design, with symbols of the 
Christian Faith. Among them are the symbols of 
the Evangelists: Angel for St. Matthew; Lion for 
St. Mark; Ox for St. Luke; Eagle for St. John; the 
Dove, symbol of the Holy Spirit; the Lamb, symbol 
of the Redeemer; the XP, the Sacred Monogram. 


The Eagle Lectern of brass on the south side of 
the Chancel steps. By Charles R. Lamb, New York. 


Given by Maria Denison Burnham. 


[ 40 ] 


LIdTNd AO TIVLACd 





GUIDE BOOK 


PULEEE 


The pulpit, a memorial to Robert ‘Treat Paine, is 
of American Oak. Designed by Charles A. Coolidge. 
Executed by John D. Evans of Boston, 1917. 

The single statues represent five great representa- 
tive preachers of the Ages. 

Beginning on the north side: St. Paul with sword, 
preacher of Apostolic days; Chrysostom, “the golden- 
mouthed preacher,” Bishop of Constantinople, fifth 
century; Luther, preacher of the Reformation; Lati- 
mer, preacher of the English Reformation; Phillips 
Brooks, greatest preacher of his day. 

Flanking these are St. Gabriel with Lily, angel of 
the Annunciation, on the north; and St. Michael with 
sword, overcoming the dragon, on the south. 

The Panels represent four scenes in Our Lord’s Life. 
Beginning on the north: The Manger at Bethlehem; 
Jesus in the Temple with the Doctors; Jesus’ Tri- 
umphal Entry into Jerusalem; The Commission to the 
Apostles. 

The Mouldings are a beautifully carved Grape Vine 
pattern, symbolizing Christ, the True Vine. 

About the base of the Pulpit appear the symbols 
of the four Evangelists: the Angel for St. Matthew; 

[ 42 | 


TRINITY CHURCH 


the Winged Lion for St. Mark, the Winged Ox for 
St. Luke, and the Eagle for St. John. 


Inscription on North side: 


Ropertr TREAT PAINE 
CLASSMATE AND FRIEND oF Puitiirs Brooks 
VESTRYMAN AND WARDEN OF THIS PARISH 


1874 ro 1910 


To THE GREAT PREACHER 
He Gave THE FRIENDsHIP OF A LIFETIME 


TO THE PARISH 
He Renperep Loyat AND GENEROUS SERVICE 


TO THE GLoRY oF GoD 
AND IN Lovine Memory or TuHerr FATHER 
His CHIupDREN Erect THIs PULPIT 


Inscription on South side: 


Tue Spirit or THE Lorp Gop 1s UPON ME; BECAUSE THE 
Lorp uatu ANOINTED Me To Preacu Goop TIDINGs UNTO 
tur Merk; He natu Sent Me To Binp Up THE BROKEN- 
HEARTED, TO Prociraim Liperty TO THE CAPTIVES, AND 
THE OPENING OF THE Prison To THEM THAT ARE BouND. 


TsataH 61:1 


[ 43 | 








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ALDACHINO 


THE B 


TRINITY CHURCH 


THE BALDACHINO 


The Baldachino is a temporary model made of 
scagliola, designed by Charles A. Coolidge. 

Its symbolism, according to the traditions of early 
Christian Art, may be interpreted as follows: The 
Lions, forming the bases of the columns which sup- 
port the Pediment, symbolize watchfulness, power, The 
Resurrection. The Eagles upon the capitals of these 
columns symbolize the highest aspiration. The con- 
ventionalized plant growing beside them on the cor- 
ner pilasters, with the chenean which crowns the 
Pediment, are supposed to represent the three ele- 
ments,—earth, air, and water, the chenean represent- 
ing waves. 

Upon the Pediment, two Peacocks face the Cross, 
in its Greek form; with its four arms of equal length, 
symbolizing the Saviour’s Love embracing the four 
corners of the earth. The Peacock is a symbol of 
The Resurrection, because it yearly renews its plumage. 

The symbolism of the emblems upon the frieze 
around the back of the Baldachino may be interpreted 
as representing the Love of God, triumphing over 
the evils of this world, as represented in the emblems 
upon the bases of the columns. In the frieze one sees 
the symbols of the Angel, the Lion, the Ox, the Eagle, 


[ 45 ] 


GUIDE BOOK 


and the Lamb, representing, respectively, Matthew, 
Mark, Luke, John, and “The Lamb of God.” 

Upon the Altar front is the Sacred Monogram, the 
XP for “Christ’?; and a decorative border of Wheat 
and Grape, symbolic of the Bread and Wine. 

The painting in the ceiling of the Baldachino is 
a replica of the famous sixth-century mosaic in the 
Apse of San Vitale, Ravenna, “Christ Crowning the 
Martyrs.” 3 


BAPTISTERY (CuHancet ALcoveE) 


Font: A Baptismal Font of Devonshire marble and 
alabaster on an octagonal granite base. By Forsyth 
of London. Given by Col. Charles R. Codman. 

Altar: Under the window in memory of Mr. 
George Minot Dexter, an Altar, also in memory of 
Mr. Dexter, given by his son, Mr. William S. Dexter. 

Marble Bust of Phillips Brooks on West wall. By 
Daniel Chester French. 

Parish Memorial. Inscription: 

Puitures Brooks 
Recror oF THIS CHURCH 
A.D. 1869-1891 
BisHop oF MassacHUseETTS 
A.D. 1891-1893 
A Man Fut or Fairn AND OF THE 
Horny Guost. 


[ 46 | 


TRINITY CHURCH 


Marble Bust of Dean Stanley on East wall. By 
Mary Grant. Inscription: 


ARTHUR PENRHYN STANLEY, 
Dean oF WESTMINSTER. 


ENDEARED TO GOOD MEN IN ALL LANDS BY THE LARGENESS OF 
HIS HEART AND THE LOVELINESS OF HIS CHARACTER. 
HIS LIFE WAS CONSECRATED TO THE ILLUSTRATION OF CHRIS- 
TIAN HISTORY AND THE ADVANCEMENT OF CHRISTIAN TRUTH. 

HIS NAME WILL EVER BE A SYNONYM OF CATHOLICITY AND CHARITY. 
THIS BUST—-THE GIFT OF ONE OF HIS FAMILY—IS PLACED 
HERE, WHERE HE PREACHED HIS FIRST SERMON IN AMERICA, 

22 SEPTEMBER, 1878, IN TOKEN OF AFFECTION AND 
REVERENCE FOR HIS MEMORY. 

Born 138 Decemper, 1815. 


Diep 18 Jury, 1881. 


Brass Tablet on East wall. Inscription: 


To THE GuoRY oF GOD AND 

IN Lovinc Memory oF 

THE REVEREND 

ReEvuBEN KIpNER 

1848-1919 

AssIsTaANT MINISTER OF 

THis ParisH From 1882 tro 1919. 

For 24 Years Vicar oF St. ANDREWS. 
Houpine THE Mystery oF THE FaITH 
IN A Pure CONSCIENCE. 

THis Tasuet 1s Pracep Here py Many 
Mew anp Women Wuo Kwew anv Lovep Him. 


i [ 47 | 


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Photograph by J. William Rodgers 


THE PORCH 


TRINITY CHURCH 


Entrance to Baptistery. Fast wall of the South 
Transept. 


Marble Bas-Relief of the Reverend E. Winchester 
Donald, D.D., by Bela Pratt. 


Parish Memorial. Inscription: 


“IT was the King’s Cup-Bearer.”’ 
To tHe Guory or Gop 
AND IN Lovinc Memory oF 
Exuigan Wincuester Donatp, D.D., LL.D. 
Rector oF THIS ParRisH 
From Ocrosper 24, 1892 
To Aveust 6, 1904 


The Memorial Tablets upon the walls of Trinity 
are so placed that their Inscriptions may easily be 
read. Lights will be turned on upon application to 
the Verger, whose office is in Northeast Vestibule. 


WEST PORCH 
“The Beautiful Gate of the Temple” 


The West Porch was completed December, 1897, 
under the direction of Mr. Shepley, of Shepley, 
Rutan and Coolidge. 


[ 51 ] 


GUIDE BOOK 


Sculptors: John Evans; Hugh Cairns, M. Domingo 
Mora. 

The stone carvings consist of a series of ten large 
statues, representing great characters of Jewish and 
Christian History, and a frieze depicting chief events 
connected with their lives. Beginning on the North 
side (Huntington Ave.): Two large statues of Abra- 
ham, founder of the People of Israel, and Moses, their 
Lawgiver. Upon the frieze running between are two 
scenes: The Journey of Abraham, and the Worship 
of the Golden Calf. Above the frieze are five small 
statues of Kings and Prophets of Israel: Samuel, 
David, Solomon, Daniel, Elijah. 


West Front (facing Copley Sq.): Large statue of 
Isaiah, the Prophet who prophesies the coming of 
Christ; upon the frieze are the two Visions of Isaiah: 
“The Lord Sitting upon the Throne among the Sera- 
phim” (Isaiah, Chap. VI); and ‘The Peaceable King- 
dom” (Isaiah, Chap. XI). 

Then come statues of the four Evangelists: 
St. Matthew, St. Mark, St. Luke, and St. John. 

Upon the frieze are the following scenes from the 
Gospel records: The Nativity; Visit of the Magi; 
Christ in the Temple with the Doctors; Baptism of 
Christ; Christ Blessing Little Children; The Prodigal 


[ 52 | 


TRINITY CHURCH 


Son; Triumphal Entry into Jerusalem; The Last 
Supper; Christ Before Pilate; Appearance of Jesus 
to St. Thomas. 

The three small statues on left of the central arch 
are the Virgin Mary; St. Elizabeth; St. Anna; the 
three on right of the central arch are Mary, Martha, 
Mary Magdalene. 

Large statue of St. Paul, the first great Christian 
Missionary; upon the frieze two scenes in his life: 
Saul on the Road to Damascus, and Paul Preaching 
on Mars Hill. 


South side (St. James Ave.): Large statue of St. 
Augustine of Canterbury, who established the Chris- 
tian Religion in England. Upon the frieze,—The Bap- 
tism of King Ethelbert by Augustine. Above the 
frieze are five small statues of English Leaders of 
Christianity: Wycliffe, Hooker, Taylor, Robinson, 
Wesley. 

The tenth large statue and panel of frieze, adja- 
cent to it, are still to be carved. 

On the bases of the piers of the West front are 
carved the symbols of the Four Evangelists: the Angel, 
the Lion, the Ox, the Eagle; the symbol of the Trinity, 
Three Interlaced Circles; the XP, the Sacred Mono- 
gram, with Alpha and Omega. 


[58] 


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ses 


CLOISTER WITH TRACERY FROM BOSTON, 





ENGLAND 


MmeN tT Y -CHUR CH 


CLOISTERS 


Gothic window-tracery from Church of St. Botolph, 
Boston, England. At the East Entrance to the Church, 
set into the cloisters on the North side, is a picturesque 
Gothic stone window-tracery, from the Church of St. 
Botolph, Lincolnshire, England. 

Stone-Carving from Old Trinity, Boston. Opposite 
the Tracery, built into the South wall, 1s a carved 
stone Rosette from the Gothic Tower of Trinity 
Church, Summer Street, destroyed in the Boston fire 
OfaLS a. 

Memorial to the Architect of Trinity Church. Built 
into the wall near the Rosette is a stone Tablet bearing 


this inscription: 


“To tHe MremMory OF 
Henry Hosson RicHarpson 
ARCHITECT OF THIS CHURCH 

His Nosiest Work 
THis Tasuet 1s DEDICATED 

BY THE ARCHITECTS OF Boston 
Recorpine THerr ADMIRATION 
‘OF THE ARTIST AND THE Man. 


A.D. MCM XIII.” 
[ 55 | 


OPH 


‘A PACMER OF TRE 





MEMORIAL OF PHILLIPS BROOKS 
BY AUGUSTUS SAINT-GAUDENS 


Pepe NaY -C MUR CH 


PHILLIPS BROOKS STATUE 


Exterior, North side (Huntington Ave.): Statue of 
Phillips Brooks, with the figure of the Christ touching 
and inspiring him. By Augustus Saint-Gaudens. 


Inscription: 


PREACHER oF THE Worp oF GOD 
Lover oF Mankind 
Borwx iw Bosrown A.D. 1835 
Diep 1x Bosron A.D. 1898 
THis MonuMENT IS ERECTED 
ny His Fettow Cirizens 

A.D. 1910 


APPENDIX 


In the spring of 1981 it seemed advisable to have a 
revised edition of the Guide Book, containing mention 
of several changes made in the Church and memorials 
given since its publication in 1924, and also the pic- 
tures of the present Rector and Bishop. 


Candelabra 


On either side of the Baldachino stands a massive brass can- 
delabrum, designed by Charles A. Coolidge, containing the four 
Evangelists and other symbols of light. One of the candelabra is 
in memory of George S. Selfridge. 


The Brooks Desk 


On the wings of the eagle of the lectern rests the pulpit desk 
upon which Bishop Brooks laid his sermon notes during his min- 
istry in Philadelphia and Boston. 


The Bennett Chair 


The Bennett Chair near the Rector’s Stall is an ancient chair 
from Amboise, France. This was presented to the Church by the 
choir in memory of Charles Bennett, baritone soloist. On the 
back is carved a victor’s wreath around the wheel of time; these 
symbolize Mr. Bennett’s character and achievement and the great 
gift which for twenty years he made by his noble voice and his 
musical skill to the worship of God in Trinity Church. 


The Organ 


A large organ built by the Skinner Company occupies the West 
Gallery. In 1926 it was rebuilt and enlarged by the generous 
gift of Mrs. T. Jefferson Coolidge. The chancel organ was in- 
stalled in 1902 and given by Mr. and Mrs. William V. Kellen in 
memory of their son, Charles Sturtevant Kellen. 


[ 58 | 


The Lovering Windows 


The Lovering Windows of antique English glass are located in 
the north and south aisles, above and below the floor of the 
galleries. The four in the south aisle picture the four Evan- 
gelists. The four in the north aisle picture the Apostles. ‘These 
windows are in memory of Charles 'T. Lovering. 


The Cary Windows 


The Cary Windows of antique English glass are located on the 
north side of the west vestibule. They are brilliant, light win- 
dows. ‘The two panels nearest the door depict familiar episodes 
in the lives of Samuel, David, and Solomon. ‘The panels nearest 
the stairs tell the story of the Queen of Sheba and King Solomon. 
These windows are in memory of Helen Eugenia Cary and 
Richard Cary. 


War Memorial 


In the west vestibule is a bronze tablet in memory of the men 
who gave their lives for freedom and humanity in the Great War. 


The Chester Memorial 


A tablet has been placed in the Clarendon Street vestibule to 
commemorate the life of Charles Edward Chester, sexton of 
Trinity Chureh for forty years. Mr. Chester was the trusted 
friend of three successive Rectors and two generations of 
parishioners. 


[ 59 | 


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